This, it would seem, is Nolan's principal innovation for this Superman: reminiscent, perhaps, of Batman Begins, this is superheroism as a burden, and a burden transformed into neurosis.
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Clark Kent – played by Henry Cavill with a permanent little worry-frown in the middle of his forehead – is revealed as a rootless drifter, blundering from one low-paid job to another in a frustrating battle to keep his taunters unbattered, his rescuees oblivious, and his inner demons placated.Ī series of sharp flashbacks show the roots of his emotional malaise: an adoptive father (Kevin Costner) who is pre-emptively convinced his boy will be hated and feared for his gifts. It's when we get to Earth that Man of Steel starts to take on its distinctive shape. Russell Crowe, with a plummy English accent as thick as a cupboard, plays the self-sacrificing father he does rather well in the complicated opening scenes, which simultaneously introduce the rebellious General Zod (Michael Shannon), Krypton's rather zany liquid-metal communication-devices, and a visual style that smothers everything in a kind of irradiated backlit CGI.
Directed by Watchmen's Zack Snyder, and produced and conceived by The Dark Knight Rises' Christopher Nolan, Man of Steel treads a familiar route at first: Superman – as he is almost never called in this film – is born as his home planet Krypton is disintegrating into civil war and environmental catastrophe, and is sent into space by his father Jor-El just ahead of Krypton's destruction. Fast forward 35 years and Superman is a very different beast: a lone voice for truth, justice and the American way with an expensive, uninspired attempt at a reboot – 2006's Superman Returns – behind it, and a cinematic universe currently overrun by Marvel's pop art team movies.
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